You arrive at the screening Broken Spectre by the New York-based Irish artist Richard Mosse by passing through the cheerfully rearranged twentieth-century Western art on the NGV’s third floor. Avoiding the Judd cube and if you’re lucky glancing left instead and seeing Sarah Lucas’ tits in Self Portrait with Fried Eggs (1996) on the far wall, you enter Broken Spectre with the aural invitation of Ben Frost’s unnz unnz soundtrack. The frequency of our state gallery’s display of Mosse’s work in solo-exhibition (The Enclave in 2015, and Incoming in 2017) has robbed it somewhat of the force of its pomp, as has the comparable technical brilliance of LUME, Melbourne’s moving art light-show (currently showing Monet and Friends, adults $44), but take a seat in a bean bag and get ready to be impressed.